Persian Rug Qom 118.5 x 75.5 cm Silk Hand-knotted

Qom Persian Rug

Material and Craftsmanship

This offering consists of two hand-knotted Qom silk rugs. The pile, warp, and weft are all made entirely of pure natural silk. The term silk on silk therefore describes the full construction rather than only the visible surface. This type of structure produces a fine, closely worked textile. The smooth silk fibres also reflect light in changing ways, so the surface can show subtle shifts according to the viewing direction.

The knotting is stated as approximately 70 Raj, corresponding to about 1,000,000 knots per square metre. Such a fine structure allows small ornaments, narrow outlines, and carefully graduated transitions to be rendered with considerable precision. Where knots are set closely together, the weaver can guide lines with greater definition and separate neighbouring areas more finely. The source also specifies double knotting and a double weft. These details describe the construction of this pair and contribute to the stability of its woven structure.

Silk requires controlled handling during the knotting process. Its threads are fine and smooth, and they respond differently from coarser natural fibres when tension is applied. Each row must therefore be aligned carefully and compacted with precision. In the finished rugs, this technical discipline is combined with the characteristic sheen of silk. The material information for this pair is specific: silk is used in the pile as well as in the warp and weft. No other fibre is stated for the construction.

Origin and Tradition

Both rugs come from Qom, also written Ghom, in Iran. Qom is recognised as one of the important centres of Persian silk-rug production. Its weaving tradition is associated with finely executed carpets in which material, drawing, and surface finish are developed together. Rather than relying only on broad, forceful forms, Qom weaving is often concerned with the controlled presentation of small details and carefully organised ornament.

Qom developed a distinct place within Persian carpet culture. Its workshops have produced several classical design structures, including central compositions, flowing all-over arrangements, floral layouts, and finely organised prayer designs. The exact arrangement of an individual rug may differ, but careful drawing remains a defining concern of the regional tradition. Pattern fields are structured through flowers, leaves, scrolling stems, borders, and smaller linking elements. These components are placed so that the composition remains coherent even when the ornament is very dense.

Qom is situated in the Iranian highlands and has long been an important centre of religious and craft culture. In carpet production, the region is particularly associated with the specialised making of finely knotted pieces. Knowledge of thread tension, knot placement, colour distribution, and pattern reading is developed through practical training. A design drawing or cartoon can serve as a guide for translating a planned composition into individual knots. The finer the knotting, the more scope there is for subtle changes in contour and the placement of small decorative passages.

Persian rugs from Qom are traditionally made by hand, row by row, on a vertical loom. Warp threads establish the longitudinal framework. Coloured pile threads are tied into this framework, and weft threads are inserted across it to secure and compact the construction. The pile is then trimmed and finished so that the design can be read clearly. When silk is used throughout the structure, these stages demand particular care because the threads are fine and the surface can reveal irregularities readily. The craft therefore depends on consistent tension and close attention to the drawing.

The designation Qom identifies the Iranian place of manufacture as well as a regional craft tradition. In this case it is not merely the name of a motif. Qom and Ghom are variant spellings used for the same place, and the source gives both forms. The stated origin is Iran, with Qom as the named centre. This regional attribution is presented alongside the silk construction and the fine knotting, all of which are part of the description of the pair.

The history of Qom weaving is also connected with the wider development of Persian decorative language. Qom designs can draw on established floral and architectural conventions while arranging them with a high degree of regularity. The result is not defined by one single compulsory pattern, but by an approach in which proportion, rhythm, fine outlines, and a carefully balanced field are important. The rugs in this offering are described as classic and richly detailed, placing them within that broader Persian design tradition.

Design and Pattern

The design of this pair is described as a classic, detailed Persian pattern with highly refined drawing. The source does not name a specific medallion, floral scheme, prayer design, or border type. For that reason, no additional motif designation is assigned here. What is documented is a finely worked Persian composition rather than a modern or deliberately reduced geometric design.

Detailed Persian patterns generally depend on a clear relationship between principal forms, secondary ornaments, and connecting lines. A central element may be surrounded by scrolling vegetation, while an all-over arrangement may repeat flowers and leaves across the field. Borders can frame the central area and establish a visual transition between the main field and the edge. These are general principles of Persian design; they are not a claim that every one of these individual components is present in this pair.

The high knot density provides the technical basis for precise pattern work. Small curves can be shaped gradually, narrow outlines can be kept distinct, and neighbouring colour areas can be separated without losing the continuity of the composition. This is especially relevant to silk rugs, where the fine yarn allows a detailed surface but also demands accurate placement. The design therefore depends on both the drawn concept and the discipline of the weaving process.

Silk also affects how the pattern is perceived. Because the fibres have a smooth surface, they reflect light according to the direction in which the pile lies. A section may consequently appear lighter or darker as the observer moves around the rug, even when the underlying colour remains unchanged. This changing reflection can emphasise the direction of a floral stem, the edge of an ornament, or the distinction between adjacent sections. It is a property of the silk surface, not an additional colour statement about this particular pair.

Persian ornament often uses repetition to create order. Leaves may echo one another, stems may lead the eye from one flower to the next, and smaller fillers can stabilise open areas between larger forms. Fine lines provide internal definition, while the overall arrangement prevents the many details from appearing disconnected. A dense knot structure supports this kind of layered drawing by giving the weaver more control over scale and contour.

For this pair, the source specifically emphasises exceptional detail and precision. These qualities are consistent with the combination of fine silk and dense hand knotting. They explain why very small ornamental elements and nuanced transitions can be represented with clarity. The exact colour palette, however, is not stated. No particular colours, border formula, or central motif is therefore added to the description.

The two rugs are identified as an identical pair. Their relationship is an important part of the design description: they are not simply two unrelated Qom rugs offered together, but two matching hand-knotted silk pieces. Their shared design allows them to be understood as a coordinated composition. This statement follows the supplied description and does not infer any unstated decorative detail.

Special Features

The principal special feature is the presentation of two identical Qom silk rugs as one pair. Both are hand-knotted and made entirely as silk on silk. The stated fine knotting is combined with double knotting and a double weft. Together, these features define a particularly refined version of the Qom silk-rug tradition described for this offering.

The condition is stated as excellent. According to the source, the rugs present as high-quality collector pieces. Their fine silk structure provides a refined sheen and a luxurious appearance. No additional information about restoration, wear, fringe, edges, or backing is supplied, so no further condition claim is made here.

The designation W1 and the number 478 form part of the supplied item identification. The origin is given as Iran, Qom, or Ghom. The source also notes that a video of the rug can be found on the dealer’s YouTube channel.

FAQ

What does 70 Raj mean?

70 Raj is a description of knotting fineness. For this pair, it is stated as corresponding to approximately 1,000,000 knots per square metre. In carpet terminology, Raj refers to knot density and therefore to the fineness of the woven structure. A higher density generally permits smaller individual knot units and more controlled drawing. It can support narrow outlines, small ornaments, and gradual transitions between adjoining areas. The Raj figure describes the construction; it does not by itself identify a particular motif or colour scheme.

What does silk on silk mean?

Silk on silk means that the pile is made of silk and that the warp and weft are also entirely silk. The pile is the visible knotted surface. The warp forms the lengthwise framework, while the weft passes across it and helps secure the rows. For this pair, all three structural elements are specified as silk. The result is a fine construction with the characteristic lustre of the fibre. The term therefore refers to the complete make-up of the rug, not merely to a silk-looking surface or a silk pile combined with another foundation material.

Why are Qom silk rugs considered valuable?

Qom silk rugs are associated with fine hand craftsmanship, silk materials, and dense knotting. Producing such a rug requires careful control of thread tension, accurate placement of each knot, and disciplined translation of a detailed design into the woven surface. Silk allows delicate drawing and distinctive light reflection, while also demanding precision because its fine, smooth threads show irregularities readily. In this pair, the Qom origin, silk-on-silk construction, stated density, double knotting, and double weft are presented together. The source consequently describes the rugs as rare collector pieces.